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601:, Grabow said "the lyrics come in abstract, repetitive pattern," and Maus agreed, stating "personally, I just donât have any gift for verses â at all. There are many examples of verse meeting music to sublime effects but thatâs not a skill that Iâve got or have the time to develop. Also, I think that verse is finally foreign to music. Some of the best tracks are just in the form of nonsense syllables." Writer Chal Ravens suggested Maus' lack of care towards the lyrics led to them having "unerasable mental image," such as on "Teenage Witch" ("Want to start a fire, witch? For that icy titty?!") and "Pets" ("Your pets are gonna die!").
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one-through-six designate the scale degree of a mode and then I added the additional thing of collapsing each consecutive, each I-iii-V I-IV-V triad into it. finally the result was that it only spit back at me the rules that I put in place. The chaos just kind of shook the little machine that I made. I never heard the chaos as such, but I saw the otherwise invisible frame that I made being shook by the integer sequence.
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of his previous albums. He built the instruments first, finishing them on
November 30, 2014, and started recording the album in 2015. He hoped that in producing his own instruments, he would familiarize himself with them much easier and that it would "somehow" mean he would create new textures never
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During Maus' absence, various contingents of popular music began indulging in throwbacks to 1980s culture. Maus acknowledged that his early albums may have anticipated this development, and that he "lament that they've maybe been ripped off, but itâs not like, 'Oh, I shouldâve gotten credited.' Itâs
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In June 2017, Maus announced a summer tour, which became his first public performances since 2012, and suggested that new music would be released soon. It was his first solo tour with a live band, featuring his brother Joseph Maus on bass, Minneapolis musician Luke Darger on keyboards, and
Jonathan
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concept of screen memories, which refers to a distorted memory from childhood. Maus named the album "Screen
Memories" because, as he explained, "everything is mediated and distorted through the screens." He explained in how the name connects to the cover art, "There a sense of remembering when was
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summarized, was released. On
October 12, the music video and single for "Teenage Witch" premiered. The video is a collage of footage of Maus in his high school years. The video and single for "Touchdown" was issued on October 23. Its video, directed by Jennifer Juniper Stratford, "features fuzzy
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What I did was train a neural network on a bunch of harmonic sequences and then saw what it spit back out to me. I also messed around with Markov chains by feeding them thousands and thousands of chants. I messed around with a simple process where you take an integer sequence and let the numbers
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called it "grander" and "balanced with a kind of playful absurdityâthe sense of nihilistic abandon" that "strikes a chord in a way that most blatantly political albums never quite manage," and praised Maus' "sense of greater craftsmanship in the small details." Devaney, reviewing for
504:. He had planned for the music to be guitar-oriented, but he "could never get it to work." Ultimately, the album's only guitar-heavy songs were "Find Out" and "Bombs Away". The latter is the only track on the album that he did not write alone; it is a cover of a song by
40:
1037:, called it "just as tragically captivating than ever before," reasoning, "There is a sense of lethargy throughout the record but it is greatly outweighed by striking moments of ethereal bliss along with the profound reflections of an isolated intellect."
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heard before, that he could "control voltage with a computer in a way that the modular guys of the seventies could only hoped to have done with that sort of precision." However, "it ended up being that I could have just saved some time and used the
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wrote that it "conveys Mau' confounding persona with total confidence: sometimes silly, sometimes stentorian, it gives the impression of a man in full command of his off-piste forays, rendering it fascinating even as it befuddles." Chal Ravens of
484:" (1967). However, he denied that such principles influenced his recent work, and that he instead gave himself "more latitude to be 'complex' or something like that." To make his compositions more "surpris," he experimented with an
570:. Critic Aine Devaney surmised that there is also "an air of Maus coming to terms with strayed and suppressed memories of pain." Writer Henning Grabow said the musical aspect of the songs are apocalyptic in that they are
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so much more of an enclosure, which has now exploded into the television in our pocket. Everything now...everybody knows it's all mediated through that device. Our social relations, our news feedâeverything. Our memory."
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musicians that "follow the contradictions of what theyâre already given through to their breaking point, as opposed to just starting from scratch or doing the wrong thing on purpose or whatever," citing examples such as
1077:, Christopher Laird criticized Maus for what he perceived to be an intellectual demeanor in interviews despite "many of songs so simple that they are nearly mantras, simple statements and riffs repeated ad nauseam."
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reviewer Cole Firth described the songs as "so clearly laboured over and full of detail that their impact as a whole, coupled with bizarre and often-obfuscated lyrics, can easily wash over a first-time listener."
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and just trying any trick I could think of. I became solely obsessed with this at the expense of anything else." His 338-page thesis "Communication and
Control", which discussed the influence of technology on
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felt Maus' perfectionist and academic method of songwriting led it to occasionally "lose its luster, especially during the second half," when "Maus can sometimes lose himself into his own abstract ideas."
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s Sean O'Neal praised the album's "undeniably hypnotic pull" and "haunting, churning synth lines rendered with impressive precision," but criticized its "stupid" and seemingly provocative lyrical content.
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more that it took a trick that I had up my sleeve away. ... , even if I said it wasnât always about retro, I had maybe tried to do that very thing and dropped a thread there for people to pick up on."
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reflects a more "foreboding" tone than Maus' past records. Maus did not engage in much social interaction while creating the album, and he only learned about the dark global political climate through
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I think largely the details that Iâm most focused on are precisely the sort that are going to be lost on most people. Like, "Look, this passage has four-voice counterpoint! Itâs straight, I'm using
518:(2017), Maus answered that the two records "couldn't have been an influence onto each other at all because he was done before he heard what I was doing, and vice versa." The song "Pets" features a
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magazine honored its "all-consuming, oddball" nature, calling it "akin to a well-warranted display of authority from an artist thatâs truly a master of his craft." Kevin Harley of
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critic Jack
Doherty posited that the 1980s-inspired sound he was associated with had "accidentally entered the mainstream" thanks to the success of television series like
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artist. He did not release any new music for the next six years. Two years were devoted to finishing his dissertation, while another two were spent learning how to build
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Most of the album's subject matters concerns apocalyptic themes, which are presented through irreverent and wry humor. According to critic
Gabriela Tully Claymore,
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home studio, nicknamed the "Funny Farm". All of the instruments Maus used for the album were manufactured by himself. The album builds upon the 1980s-inspired
1977:
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671:. As Maus explained, "It was really more that I made an album, but then I realized I had two albums worth of stuff." According to him, the songs on
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All songs written, mixed, and produced by John Maus and mastered by Heba Kadry; additional writing on "Bombs Away" by Ariel Pink and Matt
Fishbeck.
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chart. Music videos were created for its three singles ("The
Combine", "Teenage Witch", and "Touchdown"). Leftover tracks that were recorded for
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The album received generally favorable reviews from critics, and was honored on numerous year-end lists by publications such as
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385:, was completed and submitted in 2014, and he was thereby awarded his PhD in political science from the University of Hawaii.
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of world events he garnered while making the LP. Some of its song structures and melodies were created with the aid of an
630:, "The Combine," and its Tina Rivera-directed music video, "a lo-fi, psychedelic vision of farmlands being harvested" as
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came to an abrupt end on July 28, 2018, when Joseph died of an undiagnosed heart condition while with the band.
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songs with "something wrong â an apocalyptic, twisted notion." Maus named the song "Edge of
Forever" after the
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and Matt Fishbeck. When asked about perceived connections between his album and Pink's concurrently-released
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footage of football players and coaches, playing out like a retro promotional sports video but with a
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received an average score of 78 based on 19 reviews, indicating a "generally favorable" reception.
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reviewer Marcy Donelson stated that the album succeeds by basking in its murky splendor," while
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Hundreds of Minnesotan protesters marching on the day after the 2016 presidential election
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270:, released on October 27, 2017. The album was his first set of newly-recorded music since
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2761:. Les Nouvelles Editions Indépendantes. December 15, 2017. Retrieved February 17, 2018.
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2304:. John Maus Official Domino Recording Company Page. Retrieved February 13, 2018.
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368:(2011)âwhich was unprecedented for himâhe became more widely accepted as an
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1768:"John Maus A Collection of Rarities and Previously Unreleased Material"
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was released by Ribbon. The set also includes an exclusive LP titled
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The lyrics features references to aspects of popular culture such as
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In an interview supporting the album, Maus expressed an affinity for
2014:"John Maus Psychoanalyzes Ariel Pink, Announces Plans for New Music"
1612:"John Maus talks to Chloë Sevigny about music, movies, and solitude"
2149:"Donât Come To It Lightly: Approaching the Apocalypse of John Maus"
2223:"John Maus on Music, the Minnesota Milieu, Quantum Leap, and More"
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1978:"A Freewheeling Conversation With Experimental Oddball John Maus"
2284:"John Maus shares bizarre video for new song âTouchdownâ: Watch"
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was to be released in the fall of 2017. That same day, the LP's
2905:
2456:
Segal, Victoria (December 2017). "John Maus: Screen Memories".
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Worthy, Stephen (December 2017). "John Maus: Screen Memories".
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disliked that it didn't have as much "purpose and poise" as
2901:
667:, which is a set of twelve tracks that are an "addendum" to
362:
After the favorable response to Maus' previous studio album
2994:
A Collection of Rarities and Previously Unreleased Material
1586:"The end is nigh and full of goth-pop wonder on John Mausâ
175:
A Collection of Rarities and Previously Unreleased Material
2505:
Wirth, Jim (November 2017). "John Maus: Screen Memories".
2316:"Joseph Maus, John Maus' Brother and Bandmate, Dead at 30"
1559:"John Maus: Screen Memories review â nihilistic synth pop"
1872:, the Apocalypse, and Wanting to Write Like Mark Ronson"
622:
Thompson on drums. On August 29, 2017, he revealed that
350:. It features a typeface called Shatter, designed by
323:
magazine. Commercially, the album peaked number 14 on
2384:"Reviews and Tracks for Screen Memories by John Maus"
655:
on October 27, 2017. On April 20, 2018, a box set of
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2753:"Best Of Musique 2017 + CD HS Best of Musique 2017"
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2578:"John Maus: Screen Memories (Ribbon Music) Review"
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2795:. December 22, 2017. Retrieved February 17, 2018.
2726:. December 20, 2017. Retrieved February 17, 2018.
2692:. December 19, 2017. Retrieved February 17, 2018.
2962:We Must Become the Pitiless Censors of Ourselves
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365:We Must Become the Pitiless Censors of Ourselves
273:We Must Become the Pitiless Censors of Ourselves
266:is the fourth studio album by American musician
2779:. December 6, 2017. Retrieved January 30, 2018.
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1976:Tully Claymore, Gabriela (October 24, 2017).
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2649:"John Maus 'Screen Memories' (album stream)"
2550:Rodriguez, Juan Edgardo (November 2, 2017).
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679:and are most resemblant of his usual style.
613:Maus performing with his band in support of
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1891:"Album Review: John Maus â Screen Memories"
675:were made in a more "carefree" manner than
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435:Maus wrote and produced virtually all of
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2072:Blackmarquis, Phil (December 11, 2017).
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2604:Laird, Christopher (November 1, 2017).
1584:Clare Welsh, April (October 28, 2017).
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2356:"Screen Memories by John Maus reviews"
2282:Geslani, Michelle (October 23, 2017).
2125:"John Maus â 'Screen Memories' review"
2074:"Interview: John Maus â November 2017"
502:November 2016 US presidential election
2147:Grabow, Henning (November 15, 2017).
1631:"John Maus on changing your approach"
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276:(2011). Recorded in two years at his
7:
2647:Thiessen, Brock (October 26, 2017).
2576:Hamilton, Billy (October 26, 2017).
2093:Szatan, Gabriel (October 26, 2017).
2522:Bajpai, Noveen (November 8, 2017).
2264:"John Maus â âTeenage Witchâ Video"
2057:"The Inquisitive Mind of John Maus"
2012:Gordon, Jeremy (December 3, 2014).
1995:Farnell, Guido (October 27, 2017).
1791:"John Maus at the End of the World"
1629:Canino, Gary (September 14, 2017).
1557:Morris, Damien (October 29, 2017).
757:
508:, a duo that formerly consisted of
2870:Official video for "Teenage Witch"
2262:Rettig, James (October 12, 2017).
2221:Weirdo, Bobby (October 17, 2017).
1929:Page. Retrieved February 12, 2018.
1889:Doherty, Jack (October 26, 2017).
1832:"A manic interview with John Maus"
1830:Traynor, Cian (October 31, 2017).
27:2017 studio album by John Maus
25:
2411:O'Neal, Sean (October 27, 2017).
2244:"John Maus â âThe Combineâ Video"
2172:Ravens, Chal (October 28, 2017).
1809:Mejia, Paula (October 26, 2017).
1789:Joyce, Colin (October 12, 2017).
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500:was completed shortly before the
18:Screen Memories (John Maus album)
3049:Albums recorded in a home studio
2859:Official video for "The Combine"
2242:Breihan, Tom (August 29, 2017).
2200:Rettig, James (August 9, 2017).
2036:Pequeno, Ze (October 24, 2017).
1866:Arcand, Rob (October 27, 2017).
1685:Firth, Cole (October 25, 2017).
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2476:Harley, Kevin (December 2017).
2314:Minsker, Evan (July 29, 2018).
582:The City On The Edge Of Forever
488:for some tracks. He explained:
2892:"COUNTER STRIKE! -- JOHN MAUS"
2881:Official video for "Touchdown"
2831:. Retrieved February 17, 2018.
2813:. Retrieved February 17, 2018.
2743:. Retrieved February 17, 2018.
2708:. p. 2. Retrieved February 17.
2676:. Retrieved February 11, 2018.
2655:. Retrieved February 15, 2018.
2638:. Retrieved February 15, 2018.
2632:"Screen Memories by John Maus"
2292:. Retrieved February 17, 2018.
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1620:. Retrieved February 18, 2018.
1598:. Retrieved February 18, 2018.
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343:, released on April 20, 2018.
1:
2771:"The 100 Best Albums of 2017"
2524:"John Maus â Screen Memories"
2478:"John Maus â Screen Memories"
2095:"John Maus â Screen Memories"
1811:"John Maus: Baroque and Roll"
1656:"Screen Memories â John Maus"
2718:"The 50 Best Albums of 2017"
2702:"The Top 100 Albums of 2017"
2606:"John Maus: Screen Memories"
2552:"John Maus: Screen Memories"
2413:"John Maus, Screen Memories"
2202:"John Maus Teases New Music"
2174:"John Maus: Screen Memories"
2154:Nothing but Hope and Passion
1687:"John Maus: Screen Memories"
1472:The 100 Best Albums of 2017
1341:
598:Nothing but Hope and Passion
1997:"John Maus Screen Memories"
1868:"John Maus Talks New Album
1417:The 50 Best Albums of 2017
1398:The Top 100 Albums of 2017
3070:
2735:Chris (December 3, 2017).
515:Dedicated to Bobby Jameson
411:Production and composition
247:Released: October 23, 2017
238:Released: October 12, 2017
2686:"Albums Of The Year 2017"
2665:"John Maus Chart History"
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229:Released: August 29, 2017
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1927:Domino Recording Company
1635:The Creative Independent
1379:Albums of the Year 2017
1185:"The People Are Missing"
595:. Interviewing Maus for
346:Artwork was designed by
2336:"Joseph Scott Maus, 30"
593:Masters of the Universe
2078:Reflection of Darkness
1815:Red Bull Music Academy
1747:"Vic Carless obituary"
1527:Best Releases of 2017
1508:Best Releases of 2017
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1925:. John Maus Official
1453:Best of Musique 2017
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605:Release and promotion
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3044:2010s concept albums
2789:"2017's Best Albums"
2289:Consequence of Sound
2227:Weirdo Music Forever
1610:(October 30, 2017).
699:Professional ratings
642:Consequence of Sound
374:modular synthesizers
2341:Austin Daily Herald
1491:2017's Best Albums
700:
554:is named after the
2758:Les Inrockuptibles
2674:Heatseekers Albums
2302:"John Maus Boxset"
1896:2018-02-20 at the
1725:"Shatterâą â ATypI"
1448:Les Inrockuptibles
1331:Heatseekers Albums
1141:"Walls of Silence"
698:
694:Critical reception
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532:Transfigured Night
439:by himself in his
331:Heatseekers Albums
286:apocalyptic themes
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2344:. August 8, 2018.
1923:"Screen Memories"
1755:. 2 October 2011.
1654:Donelson, Marcy.
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1274:October 27, 2017
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1174:"Edge of Forever"
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659:albums including
524:Arnold Schoenberg
482:A Day in the Life
337:were included on
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16:(Redirected from
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2100:Resident Advisor
2090:
2081:
2070:
2064:
2055:Samways, Gemma.
2053:
2047:
2034:
2023:
2010:
2004:
1993:
1987:
1974:
1953:
1939:
1930:
1920:
1907:
1903:Drowned in Sound
1887:
1881:
1864:
1841:
1828:
1819:
1818:
1806:
1800:
1787:
1778:
1777:
1763:
1757:
1756:
1743:
1737:
1736:
1731:. Archived from
1721:
1715:
1710:
1704:
1703:
1701:
1699:
1682:
1671:
1670:
1668:
1666:
1651:
1638:
1627:
1621:
1605:
1599:
1582:
1576:
1575:
1573:
1571:
1554:
1486:Resident Advisor
1430:Gorilla vs. Bear
1367:
1353:
1316:
1286:digital download
1254:
1239:
1094:
1089:
1071:. Reviewing for
1069:Pitiless Censors
1047:
1020:Record Collector
976:Resident Advisor
969:
968:
967:
963:
962:
958:
957:
953:
952:
948:
947:
938:Record Collector
931:
930:
929:
925:
924:
920:
919:
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909:
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822:
821:
781:
780:
779:
775:
774:
770:
769:
765:
764:
760:
759:
704:Aggregate scores
701:
454:digital plug-ins
431:
392:Drowned in Sound
288:inspired by the
248:
245:
239:
236:
230:
227:
215:Screen Memories
170:
169:
134:
133:
129:
110:
63:October 27, 2017
42:
30:
21:
3069:
3068:
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3063:
3062:
3060:
3059:
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3029:
3028:
3027:
3022:
2999:
2981:
2969:Screen Memories
2935:
2930:
2891:
2880:
2869:
2858:
2847:Screen Memories
2844:
2841:
2836:
2835:
2821:
2817:
2803:
2799:
2787:
2783:
2769:
2765:
2751:
2747:
2734:
2730:
2716:
2712:
2700:
2696:
2684:
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2663:
2659:
2646:
2642:
2630:
2626:
2616:
2614:
2603:
2602:
2598:
2588:
2586:
2583:Under the Radar
2575:
2574:
2570:
2560:
2558:
2549:
2548:
2544:
2534:
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2521:
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2423:
2421:
2410:
2409:
2402:
2392:
2390:
2382:
2381:
2374:
2364:
2362:
2360:AnyDecentMusic?
2354:
2353:
2349:
2334:
2333:
2329:
2313:
2312:
2308:
2300:
2296:
2281:
2274:
2261:
2254:
2241:
2234:
2220:
2219:
2215:
2199:
2198:
2194:
2184:
2182:
2171:
2170:
2161:
2146:
2137:
2123:Devaney, Aine.
2122:
2115:
2105:
2103:
2092:
2091:
2084:
2071:
2067:
2054:
2050:
2035:
2026:
2011:
2007:
1994:
1990:
1975:
1956:
1942:Screen Memories
1940:
1933:
1921:
1910:
1898:Wayback Machine
1888:
1884:
1870:Screen Memories
1865:
1844:
1829:
1822:
1808:
1807:
1803:
1788:
1781:
1765:
1764:
1760:
1752:TheGuardian.com
1745:
1744:
1740:
1723:
1722:
1718:
1713:Lia Sued Cabral
1711:
1707:
1697:
1695:
1684:
1683:
1674:
1664:
1662:
1653:
1652:
1641:
1628:
1624:
1606:
1602:
1588:Screen Memories
1583:
1579:
1569:
1567:
1556:
1555:
1548:
1543:
1532:
1513:
1477:
1458:
1439:
1434:Albums of 2017
1422:
1403:
1384:
1351:
1323:
1314:
1300:
1252:
1250:Release history
1247:
1237:
1163:"Decide Decide"
1119:"Teenage Witch"
1083:
1064:Under the Radar
1045:
1005:Screen Memories
965:
960:
955:
950:
927:
922:
917:
912:
877:
872:
867:
862:
839:
834:
829:
824:
777:
772:
767:
762:
718:AnyDecentMusic?
696:
684:Screen Memories
677:Screen Memories
669:Screen Memories
661:Screen Memories
653:Screen Memories
637:Stranger Things
624:Screen Memories
615:Screen Memories
607:
589:Jean-Luc Picard
564:Screen Memories
552:Screen Memories
541:
498:Screen Memories
474:Good Vibrations
437:Screen Memories
433:
429:
419:parallel fifths
413:
398:Stranger Things
360:
348:Lia Sued Cabral
335:Screen Memories
263:Screen Memories
251:
246:
243:
242:
237:
235:"Teenage Witch"
234:
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196:
187:
184:Screen Memories
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118:
106:
55:
33:Screen Memories
28:
23:
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15:
12:
11:
5:
3067:
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2899:
2888:
2877:
2866:
2855:
2840:
2839:External links
2837:
2834:
2833:
2815:
2805:"January 2018"
2797:
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2745:
2728:
2710:
2706:Crack Magazine
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2130:Crack Magazine
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2061:Crack Magazine
2048:
2043:Tiny Mix Tapes
2024:
2005:
1988:
1954:
1931:
1908:
1882:
1842:
1820:
1801:
1779:
1766:Thomas, Fred.
1758:
1738:
1735:on 2012-05-05.
1716:
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1672:
1639:
1622:
1608:Sevigny, Chloë
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1218:"Over Phantom"
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1034:Crack Magazine
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470:the Beach Boys
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383:social control
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2940:Studio albums
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2755:(in French).
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2418:The A.V. Club
2414:
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2351:
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1729:www.atypi.org
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1319:Chart (2017)
1317:
1311:
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1302:
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1294:
1292:
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1287:
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1238:Total length:
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1202:
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1195:
1191:
1187:
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1132:
1129:
1125:
1121:
1118:
1114:
1110:
1108:"The Combine"
1107:
1103:
1090:
1086:
1081:Track listing
1080:
1078:
1076:
1075:
1070:
1066:
1065:
1059:
1054:
1053:
1044:
1043:
1042:The A.V. Club
1038:
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846:
816:
814:
813:
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802:
801:
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796:
792:
790:
789:
788:The A.V. Club
785:
784:
754:
752:
749:
748:
740:
737:Review scores
735:
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726:
725:
721:
719:
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689:
685:
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534:
533:
529:
528:string sextet
525:
521:
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507:
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494:
489:
487:
483:
479:
476:" (1966) and
475:
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226:"The Combine"
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36:
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19:
3015:
2992:
2986:Compilations
2974:
2968:
2967:
2960:
2955:Love Is Real
2953:
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2826:
2818:
2808:
2800:
2792:
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2748:
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2721:
2713:
2705:
2697:
2689:
2681:
2668:
2660:
2652:
2643:
2627:
2617:February 19,
2615:. Retrieved
2609:
2599:
2589:February 19,
2587:. Retrieved
2581:
2571:
2561:February 19,
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